Mad Enchantment: Claude Monet and the Painting of the Water Lilies (73 page)

10
   
L’Art Vivant
, September 1927.

11
   Martet,
Clemenceau
, p. 244.

12
   Hoschedé, vol. 1, p. 97.

13
   Albert Flament, cited in Romy Golan, “Oceanic Sensations: Monet’s
Grandes Décorations
and Mural Painting in France from 1927 to 1952,” in Paul Hayes Tucker et al.,
Monet in the 20th Century
, p. 92.

14
   See Golan, “Oceanic Sensations,” pp. 86 and 96.

15
   Quoted in Elizabeth W. Easton, “Monet: New York,”
Burlington Magazine
, vol. 151 (December 2009), p. 867.

16
   
Le Ménestrel
, October 18, 1929.

17
   Fortuné d’Andigné,
Les Musées de Paris
(Paris: Éditions Alpina, 1931), p. 135.

18
   
La Renaissance: Politique, Littéraire, Artistique
, January 14, 1928.

19
   
Claude Monet: Exposition Rétrospective
(Paris: Musée de l’Orangerie, 1931), p. 8.

20
   The doctoral dissertation of Robert Rey had been on the “rebirth of the classical” in the work of Degas, Renoir, Gauguin, Cézanne, and Seurat. Rey predicted, oddly, that had Monet lived and painted for another decade, the “clouds of water lilies would have assumed human form...and would have become geniuses and nymphs.” Figures, in other words, would have reappeared in his landscapes, making it possible for Rey to claim that even Monet—had he lived longer—would ultimately have surrendered to “le grand art classique.” See Rey,
La Renaissance du sentiment classique dans la peinture française à la fin du 19e siècle: Degas, Renoir, Gauguin, Cézanne, Seurat
(Paris: Les Beaux-Arts, Édition d’Études et de Documents, 1931), pp. 136–37.

21
   
Claude Monet: Exposition Rétrospective
, p. 77.

22
   Quoted in Golan, “Oceanic Sensations,” p. 92.

23
   
Formes
(May 1931), p. 75.

24
   Quoted in Maloon, “Monet’s Posterity,” p. 184.

25
   On the rural nostalgia after the Great War, see Romy Golan,
Modernity and Nostalgia: Art and Politics in France Between the Wars
(New Haven, CT: Yale University Press, 1995). She discusses the attacks on Monet’s work at the Orangerie on pp. 39–40.

26
   Quoted in Golan,
Modernity and Nostalgia
, p. 40.

27
   
Paris-Normandie
, November 28, 1949.

28
   André Masson, “Monet the Founder”, trans. Terence Maloon in Shackleford, ed.,
Monet and the Impressionists
, p. 190.

29
   Paul Facchetti, quoted in Romy Golan, “Oceanic Sensations,” p. 96.

30
   
Sunday Times
, March 6, 1966.

31
   Quoted in Jenny Gheith, “Tableau Vert,”
Art Institute of Chicago Museum Studies
35, no. 2 (2009), p. 45.

32
   
Time
, January 16, 1956.

33
   Quoted in Michael Plante, “Fashioning Nationality: Sam Francis, Joan Mitchell, and American Expatriate Artists in Paris in the 1950s,” in Laura Felleman Fattal and Carol Salus, eds.,
Out of Context: American Artists Abroad
(Westport, CT: Praeger, 2004), p. 143.

34
   Quoted in Roald Nasgaard,
Abstract Painting in Canada
(Vancouver: Douglas & McIntyre, 2007), p. 82.

35
   Jane Livingston, “The Paintings of Joan Mitchell,” in
The Paintings of Joan Mitchell
(New York: Whitney Museum of American Art, 2002), p. 40. Art critics frequently make justifiable comparisons between the work of Monet and Mitchell, but Mitchell was anxious to disavow an influence. As a
New York Times
interview reported the year before her death: “‘I bought this house because I liked the view, not out of any love for Monet,’ she snaps, pointedly mispronouncing the painter’s name so that it rhymes with the word ‘bonnet’” (
New York Times
, November 24, 1991).

36
   Quoted in Temkin and Lawrence, p. 18.

37
   Quoted in Maloon, “Monet’s Posterity,” p. 186.

38
   
Clement Greenberg: Collected Essays and Criticism
, vol. 4, ed. John O’Brian (Chicago: University of Chicago Press, 1993), p. 3.

39
   Clement Greenberg,
Art and Culture: Critical Essays
(Boston: Beacon Press, 1961), p. 45.

40
   Quoted in Wildenstein,
Monet, or the Triumph of Impressionism
, p. 446.

41
   “Interview with William Wright,” in Kristine Stiles and Peter Selz, eds.,
Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings
(Berkeley and Los Angeles: University of California Press, 1996), p. 22.

42
   Hoschedé,
Claude Monet, ce mal connu
, vol. 1, p. 83.

43
   
Time
, July 19, 1971, and March 26, 1990.

44
   Ibid., March 21, 1960.

45
   Ibid., January 28, 1957.

46
   Masson, “Monet the Founder,” trans. Terence Maloon, p. 191.

47
   Pascal Rousseau, “Monet, le cycle des Nymphéas,”
Journal de l’année
(2000), p. 323. For the renovation project, see
Musée de l’Orangerie: Dossier de presse
(Paris: Ministère de la culture et de la communication, 2006).

48
   
Le Petit Parisien
, February 12, 1922.

49
   Personal e-mail communication, August 2, 2015.

APPENDIX

CLAUDE MONET’S WATER LILIES IN PUBLIC COLLECTIONS

IN THE UNITED STATES

Museum of Fine Arts, Boston, MA

The Water Lily Pond
, 1900

Water Lilies
, 1905

Water Lilies
, 1907

Worcester Art Museum, MA

Water Lilies
, 1908

Museum of Modern Art, New York

Water Lilies
(triptych), 1914–26

Water Lilies
, 1914–26

Agapanthus, 1914–26

The Japanese Footbridge, c. 1920–22

Metropolitan Museum of Art, New York

Water Lilies
, 1919

Water Lilies
, 1914–26

Bridge Over a Pond of Water Lilies
, 1899

The Path Through the Irises
, 1914–17

Philadelphia Museum of Art, PA

Japanese Footbridge, Giverny, 1895

The Japanese Bridge
, 1919–24

National Gallery, Washington, D.C.

The Japanese Footbridge
, 1899

Museum of Fine Arts, Richmond, VA

Iris
, 1914–17

Carnegie Museum of Art, Pittsburgh, PA

Water Lilies
, c. 1915–26

Cleveland Museum of Art, OH

Water Lilies (Agapanthus)
, c. 1915–26

Allen Memorial Art Museum, Oberlin College, OH

Wisteria (Glycines)
, c. 1919–20

Columbus Museum of Art, OH

Weeping Willow
, 1918

Dayton Art Institute, OH

Water Lilies
, 1903

Toledo Museum of Art, OH

Nympheas
, 1914–17

Art Institute of Chicago, IL

The Bridge Over the Water Lily Pond
, 1900

Water Lilies
, 1906

Minneapolis Institute of Arts, MN

The Japanese Bridge
, c. 1919–24

St. Louis Art Museum, MO

Agapanthus
, 1915–26 (The central part of a triptych, the other two canvases are at the Cleveland Art Museum and the Nelson-Atkins Museum of Art)

Nelson-Atkins Museum of Art, Kansas City, MO

Water Lilies
, c. 1915–26

Dallas Museum of Art, TX

Water Lilies
, 1908

Kimbell Art Museum, Fort Worth, TX

Weeping Willow
, 1918–19

Museum of Fine Arts, Houston, TX

Water Lilies
, 1907

Denver Art Museum, CO

Water Lilies
, 1904

Phoenix Art Museum, AZ

Flowering Arches
, Giverny, 1913

Portland Art Museum, OR

Nympheas
, 1914–17

Fine Arts Museums of San Francisco, CA

Nympheas
, 1914–17

Los Angeles County Museum of Art, CA

Nympheas
, c. 1897–98

Honolulu Museum of Art, HI

Water Lilies
, 1917–19

OUTSIDE THE UNITED STATES

France
Musée d’Orsay, Paris

Water Lily Pond, Harmony in Green
, 1899

Water Lily Pond, Harmony in Rose
, 1900

Musée Marmottan Monet, Paris

Nymphéas
, 1916–19

Nymphéas
, 1916–19

Saule pleureur et basin aux nymphéas
, 1916–19

Les Hémérocalles
, 1914–17

Nymphéas
, 1914–17

Nymphéas et agapanthes
, 1914–17

Lycée Claude Monet, Paris

Nymphéas avec rameaux de saule
, 1916–19

United Kingdom
National Gallery, London

Water Lilies
, after 1916

Water Lilies, Setting Sun
, c. 1907

The Water Lily Pond
, 1899

Irises
, 1914–17

National Museum and Gallery, Cardiff, Wales

Water Lilies
, 1908

Switzerland
Kunsthaus Zurich, Zurich

The Water Lily Pond
(diptych), c. 1915–26

Foundation E.G. Burhle, Zurich